It was the religious, athletic, artistic, political, judicial, social, and commercial meeting place for the ancient Hellenes: the agora (Ἀγορά), or 'gathering place'. As many ancient Hellenic cities were planned from the envisioned agora outwards, the agora was often located either in the middle of the city or near the harbour, which was surrounded by public buildings and by temples. In many cities, and for most of the age of Hellas, the agora was the centre--the heart--and it served a multitude of functions.

http://www.mlahanas.de/Greeks/Maps.htm

It seems that '[i]n the 5th and 4th centuries BC two kinds of agora existed. Pausanias, writing in the 2nd century AD, calls one type archaic and the other Ionic. He mentions the agora of Elis (built after 470 BC) as an example of the archaic type, in which colonnades and other buildings were not coordinated; the general impression created was one of disorder. The agora of Athens was rebuilt to this type of design after the Persian Wars (490–449 BC). The Ionic type was more symmetrical, often combining colonnades to form either three sides of a rectangle or a regular square; Miletus, Priene, and Magnesia ad Maeandrum, cities in Asia Minor, provide early examples. This type prevailed and was further developed in Hellenistic and Roman times.'

Very early on in Hellenic civilization, the agora became the focal point of Hellenic life. In the 7th and 6th centuries BC, the agora was not only the central meeting place for the living, but a honourable burial place for the very important dead. It was a practice that slowly faded as death became to be viewed as more and more miasmic, but very old graves have been found at locations of agora's.

The location was always more for the living, however, and tended to be the hub of social activity. The agora was designed to be easily accessible to every citizen, and often housed a large central square for market stalls, which were ringed by a colonnade, sometimes containing shops, or stoae. Statues, altars, trees, and fountains adorned the square itself, and it was bound by public buildings.

The agoras of the ancient Hellenic world varied greatly in size, but in gneral, the size of the agora was in line with the size of the city. The agora in Athens, for example, was the size of several football fields and saw heavy traffic every single dag. Women didn't often frequent the agora, but it was the central meeting place for anyone else, from politicians, philosophers, traders, city officials and slaves to the city's criminals.

In many cities, the agora would have been crowded with confectioners who made pastries and sweets, slave-traders, fishmongers, vintners, cloth merchants, shoe-makers, dress makers, and jewelry purveyors. Men and slaves usually did the shopping, with slaves and donkeys carrying the purchases; wealthier women may have visited to buy perfumes, jewellery and expensive cloth. In Athens, a special separate 'potters market' was reserved for the buying and selling of cookware as that was considered solely the provenance of women and was frequented by female slaves on task for their mistresses or by the poorer wives and daughters of Athens.

Kapeloi, retail traders, were a frequent sight at the agora, and served as middle-men between the craftsmen and the consumer, but even then, these vendors were deemed unnecessary and were often mistrusted by the general public.

Scientific theory got its start in the agora, where the city's greatest minds regularly met informally to socialize. In Athens, Socrates, Plato and Aristotle were frequently seen at the agora, discussing philosophy and instructed pupils. Hippocrates and Pythagoras were both highly public figures who taught and shared ideas in their own hometown agoras. Democracy found its start at the agora as well.

As a religious site, the agora makes an odd but somewhat understandable choice; many temples were focussed around the agora, and in all centuries, the agora was lined with altars to the Gods--including special altars to the dodecatheon, the Twelve, the major gods of the city--and many statues of Gods, heroes, and those who had earned their statue to be erected at the square. Olympic victors often earned that right, as well as those who had become war heroes or those who had served the city in another important capacity.

Athena and Zeus in Athens especially had special epithets connected to the agora: Agoraios and Agoraia, patrons of the agora itself. the agora further served as both a meeting place, a sacrificial area, and the main area for public celebrations where meat from the sacrifice was distributed amongst the city's citizens. The agora--while rarely the focal point of worship--tended to be at the start and end of religious ceremonies, and would have been the designated area for discussions about the rites and many of the activities connected to it.

The concept of  city centre is mostly lost to us now, although some small towns and yes, some larger cities especially those not in the Western world, still make use of a large open space where all ways of life interconnect, and where the main focus of social interaction is placed. With its central location and open character, the agora was the logical place to spend free time, and because religion was such a large part of the ancient Hellenic way of life, it's only logical that religious activities also featured heavily at the agora.
Lately, I have been feeling the desire to not just read the hymns of antiquity, but to listen to them. I am not skilled in (ancient) Greek, but there is something about the soothing tones of the Homeric and Orphic hymns being sung or spoken. Today, I wanted to share with you a few of my favourites to be found on Youtube, and I am open to suggestions about yours!


Orphic hymn to Selene


Orphic Hymn to Apollon


Prayer to Zeus (by Arkhilokhos of Paros)


Orphic hymn to Athena


Homeric hymn to Artemis (modern English adaption)


Homeric hymn to Hermes


Homeric hymn to Zeus (#23)


Homeric Hymn to Asklēpiós




Welcome to another constellation post; this one is one of my favourites. Who doesn't love a winged horse? The constellation is called 'Hippos' (the Horse) in Greek and has some badass mythology attached to it.

http://mail.colonial.net/~hkaiter/zodiacconstellations.html

Pegasos was originally only one winged horse, born from the neck of Médousa when she was beheaded by the hero Perseus. Poseidon, Tamer of Horses, is his father. Hesiod describes in his 'Theogony' the curious circumstances of his birth:

"...Medusa who suffered a woeful fate: she was mortal, but the two [of her Gorgon sisters] were undying and grew not old. With her lay the Dark-haired One [Poseidon] in a soft meadow amid spring flowers. And when Perseus cut off her head, there sprang forth great Chrysaor and the horse Pegasus who is so called because he was born near the springs [pegae] of Ocean [Okeanos]; and that other, because he held a golden blade [aor] in his hands. Now Pegasus flew away and left the earth, the mother of flocks, and came to the deathless gods: and he dwells in the house of Zeus and brings to wise Zeus the thunder and lightning." [ll 270-294]

Pegasos was tamed by Bellerophon, a Korinthian hero, who rode him into battle against the fire-breathing Khimaira. Pindar, in his beautiful Olympian Odes describes this cooperation wonderfully:

"Bellerophon, who once suffered greatly when beside the spring he wanted to harness Pegasus, the son of the snake-entwined Gorgon; until the maiden Pallas brought to him a bridle with golden cheek-pieces. The dream suddenly became waking reality, and she spoke: “Are you sleeping, king, son of Aeolus? Come, take this charm for the horse; and, sacrificing a white bull, show it to your ancestor, Poseidon the Horse-Tamer.” The goddess of the dark aegis seemed to say such words to him as he slumbered in the darkness, and he leapt straight up to his feet. He seized the marvellous thing that lay beside him, and gladly went to the seer of the land,  and he told the son of Coeranus the whole story: how, at the seer's bidding, he had gone to sleep for the night on the altar of the goddess, and how the daughter herself of Zeus whose spear is the thunderbolt had given him the spirit-subduing gold. The seer told him to obey the dream with all speed; and, when he sacrificed a strong-footed bull to the widely powerful holder of the earth, straightaway to dedicate an altar to Athena, goddess of horses. The power of the gods accomplishes as a light achievement what is contrary to oaths and expectations. And so mighty Bellerophon eagerly stretched the gentle charmed bridle around its jaws and caught the winged horse. Mounted on its back and armored in bronze, at once he began to play with weapons. And with Pegasus, from the chilly bosom of the lonely air,7 he once attacked the Amazons, the female army of archers, [90] and he killed the fire-breathing Chimaera, and the Solymi. I shall pass over his death in silence; but Pegasus has found his shelter in the ancient stables of Zeus in Olympus." [13. 63]

As a constellation, it's arrival in the sky notes the arrival of the warmer weather of spring and seasonal rainstorms, which is also why it got the job and title of thunderbolt-bearer of Zeus. Hyginus in his 'Astronomica' speaks of the events that led up to Pegasos' immortalization in the sky:

"Others say that at the time Bellerophon came to visit Proetus, son of Abas and king of the Argives, Antia, the king’s wife, smitten with love for the guest, begged to visit him, promising him her husband’s kingdom. When she couldn’t obtain this request, out of fear that he would accuse her to the king, she anticipated him by telling Proetus that he had offered violence to her. Proetus, who had been fond of Bellerophon, was reluctant to inflict punishment himself, but knowing that he had the horse Pegasus, sent him to the father of Antia (some call her Sthenoboea), for him to defend his daughter’s chastity and send the youth against the Chimera, which at that time was laying waste with flames the country of the Lycians.

Bellerophon was victor, and escaped, but after the creation of the spring, as he was attempting to fly to heaven, and had almost reached it, he became terrified looking down at the earth, and fell off and was killed. But the horse is said to have flown up and to have been put among the constellations by Jove [Zeus]. Others have said that Bellerophon fled from Argos not because of Antia’s accusations, but so as not to hear any more proposals which were distasteful to him, or to be distressed by her entreaties." [II.18]

Although most would agree that it is Pegasos whom the constellation denotes, there is one other explanation, there because her mythology is usually tied to the constellation Equuleus: the little horse. Her name is Melanippe (Εὐίππη), daughter of the kéntauros Kheiron. She became pregnant and could not let her father know. As such, she begged the Gods to be transformed into a mare. Also from Hyginus's Astronomica:
 
"Euripides in his Melanippe, says that Melanippe, daughter of Chiron the Centaur, was once called Thetis. Brought up on Mount Helicon, a girl especially fond of hunting, she was wooed by Aeolus, son of Hellen, and grandson of Jove, and conceived a child be him. When her time drew near, she fled into the forest, so that her father, who supposed her a virgin, might not see that she had given birth to a grandchild. And so when her father was looking for her, she is said to have begged the power of the gods not to let her father see her in childbirth. After the child was born, by the will of the gods she was changed into a mare which was placed among the stars."

He also gives another reason for her change:

"Some say that she was a prophetess, and because she used to reveal the plans of the gods to men, she was changed into a mare. Callimachus says that because she ceased hunting and worshipping Diana [Artemis], Diana changed her into the shape we have mentioned. For the reason above, too, she is said to be out of sight of the Centaur, who some say is Chiron, and to show only half her body, since she didn’t want her sex to be known."

The constellation is visible at latitudes between +90° and −60°, and best visible at 21:00 (9 p.m.) during the month of October.
I'm sorry, guys, I am having one of those 'today is not going to happen, please try again tomorrow'-days. Forgive me? I have five drafts in my drafts folder form this morning alone, and nothing is worthy of publishing. Tomorrow I'll retry. Let me leave you with poetry this morning, one of my favourites--one I can recite from the top of my head even if you wake me in the middle of the night. You know, we used to make our schoolbooks pretty (and lasting) by covering them in wrapping paper and laminating them. Tradition says to add pictures of things you like to the wrapping paper before laminating, and one year, I used poetry only. This one was on my diary, so I read it at least ten times a day. Fond memories. You can read more about the poem here.



THOU still unravish'd bride of quietness,
  Thou foster-child of Silence and slow Time,
Sylvan historian, who canst thus express
  A flowery tale more sweetly than our rhyme:
What leaf-fringed legend haunts about thy shape
  Of deities or mortals, or of both,
    In Tempe or the dales of Arcady?
  What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
    What pipes and timbrels? What wild ecstasy?
 
Heard melodies are sweet, but those unheard
  Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
  Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
  Thy song, nor ever can those trees be bare;
    Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
    She cannot fade, though thou hast not thy bliss,
  For ever wilt thou love, and she be fair!
 
Ah, happy, happy boughs! that cannot shed
  Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearièd,
  For ever piping songs for ever new;
More happy love! more happy, happy love!
  For ever warm and still to be enjoy'd,
    For ever panting, and for ever young;
All breathing human passion far above,
  That leaves a heart high-sorrowful and cloy'd,
    A burning forehead, and a parching tongue.
 
Who are these coming to the sacrifice?
  To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
  And all her silken flanks with garlands drest?
What little town by river or sea-shore,
  Or mountain-built with peaceful citadel,
    Is emptied of its folk, this pious morn?
And, little town, thy streets for evermore
  Will silent be; and not a soul, to tell
    Why thou art desolate, can e'er return.
 
O Attic shape! fair attitude! with brede
  Of marble men and maidens overwrought,
With forest branches and the trodden weed;
  Thou, silent form! dost tease us out of thought
As doth eternity: Cold Pastoral!
  When old age shall this generation waste,
    Thou shalt remain, in midst of other woe
  Than ours, a friend to man, to whom thou say'st,
'Beauty is truth, truth beauty,—that is all
    Ye know on earth, and all ye need to know.'

 
Elaion is proud to announce that the third Pandora's Kharis donation run has raised $186,- for the democratically decided upon cause Coats For Kids Foundation. Once more, it is an astounding amount for a small but ever-expanding giving circle, and we are so proud of the generous spirit of the Hellenistic community.

PayPal takes its standard fees from the transactions--in this case about $10,-, which was covered by Elaion, making sure every cent of your donation went to the Foundation to buy coats for kids who are struggling in this winter weather. The average amount paid by the contributors was around $15,-, with donations coming in as high as $30,-.

Giving a child a new coat positively impacts that child’s self-esteem and self-worth. Coats For Kids believes that the impact on kids that receive coats from CFK is dramatic, as evidenced by heads held high, smiles, and fewer missed days of school because of illness. Most kids that receive a coat from CFK either have never had a winter coat or, at best, have had a hand-me-down from a parent, sibling, or clothing box.


On average, a new coat costs the Foundation fifteen dollars, meaning that together, we have been able to provide good, sturdy, warm coats to twelve kids who are in desperate need of them this winter.

As always, we encourage members who have given so generously to dedicate this gift to the Gods, especially the Kourotrophos; (mostly) female deities who watched over growing children--Gaea, Artemis, Hekate, Eirênê, Aglauros and Pandrosos, especially. A pre-made ritual can be found here, on the Elaion Facebook page.

From this moment on, the Pandora's Kharis Facebook page is open to pitches. If you do not have Facebook, feel free to pitch your cause in the comments. We will relay the message to the community.

On to another month of pitching, voting, and giving. Thank you for your generosity!
A while ago, I asked my wonderful readers to send me questions because I was a little stuck, and lacking for subjects to write about. Questions are always awesome writing prompts, and you guys came through in the best way possible; in fact, I am still working through my backlog of reader questions. Today, I would like to answer another one I got, and because I don't have written permission to use their name, I'm leaving it as anonymous. Thank you, though, Anon, for writing. My Facebook or e-mail is always open.

"Hello! I remember that you had said you were accepting questions. I am unsure if you are still accepting questions but I do have one that comes from an important subject. Subject being how to go about polytheistic practice when one is young and under the care of naysayers. Specifically, what to do about offerings? As it stands I leave water for my dead, house spirits, and a Thea, but I intend to honor more deities. But I do not have six or seven more containers to use that will not be missed. Could libations to multiple theoi (or other deity groups) be poured into a common container and it not be akin to a trough?"

You know, practicing a religion in secret is hard. It's especially hard if you are still living with your parents, or with a roommate you know won't understand or even a partner. I'm all in favour of an open dialogue, but sometimes that's simply not possible and we are forced to extend our repertoire so we can look for alternate solutions.

A while ago, I wrote a post with practical tips for those practicing with limitations. Anyone struggling with this type of situation might want to take a look at that one again. In this particular example, I would distribute your offerings between two bowls; one to the Ouranic Theoi, and one to the Khthonic Theoi and the dead. For more information, please visit this post about the bômos and bothros--the ritual altars of the ancient Hellenes.

That brings me to what I had originally wanted to say first; that the ancient Hellenes used one (well, two, if you split between Ouranic and Kthonic) altar for their rituals--especially in the household. You should never feel like you are just lumping offerings together; I always give sacrifice in a single sacrificial bowl on my altar (unless it's to the dead/Kthonic Gods/some heroes) and so far that has worked very well for me. That said, I do have separate household shines--discussed here, briefly, with outdated images I should replace soon--for specific rituals.

I hope this helps you--and perhaps others in a similar situation to yours--move on in their practices. I wish you the best of luck with your situation, and may the Gods always grand kind blessings to you and yours.
As is (or should be) completely obvious to anyone who has visited this blog for a while, my love for Hómēros' Odysseia knows no bounds. It's my go-to book when I wish to feel connected to the Gods and it is only rivalled by Hesiod' Theogony in times I have reached for it. if you catch me reading out of the house, depending on the amount of space I have available in my bag that day, either the Odysseia or the Theogony will probably be in my hands.

As much as I love the Odysseia, I gave up on dissecting Odysseus' exact route through the Mediterranean Sea long ago. Trying to keep up with that convoluted mess was never a priority for me.  Even in ancient times, though, Odysseus' route was disputed and discussed quite often. Ancient geographers, scholars, and historians took great interest in the journey Odysseus had taken. The most important ancient sources are the first century geographer Strabo, who has collected information on Eratosthenes' and Polybius' investigations into the subject; as well as the 'Dictys of Crete', a novelisation of the Trojan War which many later writers treated as an authentic historical record of the war.

Many of the towns, cities, and other locations mentioned by Hómēros were no longer there in the time these scholars begun to search for them, and many concluded they simply had never been there. None seemed to mind too much; the Odysseia is a work to be enjoyed for what it is: entertainment. Eratosthenes, a Greek third century mathematician, geographer, poet, astronomer, music theorist, and the chief librarian at the Library of Alexandria is (through Strabo) famous for saying: "you will find the scene of the wanderings of Odysseus when you find the cobbler who sewed up the bag of the winds." [1.2.14]

That said, Strabo did come to a consensus at least with himself when he gives us the following list of locations, given here with the corresponding source in the link above, where possible:
  • Lotus-eaters: Djerba (1.2.17)
  • Cyclops: south-east Sicily, near Etna and Lentini (1.2.9)
  • Aeolus: Lipari, among the Aeolian Islands north of Sicily
  • Laestrygonians: south-east Sicily (1.2.9)
  • land of the Cimmerians: the Bosporus (1.2.9)
  • The Ocean: the Black Sea (1.2.10)
  • Sirens: either Cape Faro, by the Strait of Messina; or Sirenussae, a headland in Italy between the Bay of Naples and the Gulf of Salerno; or Naples itself (1.2.12-13)
  • Scylla and Charybdis: Strait of Messina (1.2.9, 1.2.16)
  • Ogygia (Calypso's island) and Scheria: "imagined in fantasy" as being in the Atlantic (1.2.18)
After Strabo, many contended these points, and thus, a true consensus was never reached amongst the ancient writers. The majority of classical scholars today hold the view that Odysseus's landfalls are best treated as imaginary places, but that does not mean new attempts to map out the journey have not been undertaken. Most famously is perhaps the study done by the French Homeric scholar Victor Bérard around 1930. Bérard took the views of the ancients and adapted them to the point where he himself was satisfied with the journey. His account thus differed from the ancient writers in some details:
  • Lotus-Eaters: Djerba
  • Cyclopes: Posillipo in Italy
  • Aeolus: Stromboli
  • Laestrygonians: northern Sardinia
  • Circe: Monte Circeo in Lazio
  • The entrance to the Underworld: near Cumae
  • Sirens: the coast of Lucania
  • Scylla and Charybdis: Strait of Messina
  • Island of the Sun: Sicily
  • Calypso: the Straits of Gibraltar
  • Scherie: Corcyra
Based mostly off of Bérard, Gisèle Mounzer, Product Marketeer at ESRI, has made an interactive map of Odysseus' journey placed on a modern map, making it possible to track Odysseus as he crossed the Mediterranean Sea again and again in his journeys. There are fourteen points laid out by Mounzar, and each is accompanied by a quote from the Odysseia, or an explanation of it. In this regards, it functions as a fascination tool to gain a greater understanding of Odysseus' struggles.
 
If Mounzar's map really depicts the route taken by Odysseus--or even if there was a route at all, or an Odysseus--remains to be seen. All I can say is that it is as well a researched guess as any, and I greatly enjoyed the time I spent studying it.